Single channel video with installation and performance
Dimension variable
video: http://www.youtube.com/watch?v=Cu7RxTHgYmI
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Eventually “Experimenting Exhibitions,
Exhibiting Experiments” comes to the last part. From exploring possibility of
exhibitions by curators to the artists’ re-involvement towards the existing
artwork, at the same time under the coordination of curators and rules set by
other artists, it drives the participating artists to understand his artwork
anew and challenge audiences’ experiences of watching exhibitions.
Rules set by Lee Kit are mostly about
physical limitations. These conditions reflect his concern which is kind of
means beginning with the closest things to tackle limitation. Owing to
forbiddance of using nails or screws on the wall and instructions of setting
the artwork higher than eye level or on the floor, two-dimensional art pieces
are expected to have an unusual presentation. By just following the rules and
placing the artwork only under spacial and visual consideration without any
concern of notion, it is not what I am intended to do. Therefore, I associate
from physical conditions to own artistic concern. In fact, as early as previous
three experiments, I have come up with an idea to make the artwork disappeared.
This is an idea about my own artistic approach. Due to my incoherence upon
media and style, it is always doubtful whether I am too engaged in
self-fascination or not? Do I place myself too much time in the state of art
making and thinking of art? Weirdly, towards the completed art pieces, my
fondness and abhorrence is often not stable. How do I combine my art with Lee’s
conditions of art making then?
As a conclusion, by not changing the
original meaning of the existing artwork, I try to make a box for every art
piece. They will be locked and buried at the end of the exhibition. This is for
making distance before recalling.
You are here invited to take out the work
from the boxes to look at. The situation of the work is the first time how I
get touch with it. Like Chinese paintings, you can unfold to look and place it
back afterwards. That’s only you can touch the artwork. I will not touch them
again. In addition, I will make portfolio for the selected art pieces. Please
commission me. I am willing to recall them 50 times. Each of the portfolios is
unique. Every making is one time recalling. Does emotion remain same after 50
times?
展覽實驗. 實驗展覽來到第四回，過程由策展人發掘展覽的可能，及至藝術家對作品再度介入，並在策展人協調及服從其他藝術家的規條下，誘發各個藝術家重新理解其創作，亦同時挑戰著觀眾觀看展覽的經驗。
李傑的規則多牽涉到物理限制，這些條件反映其關注，是一種在局限下由自身最親近的事物開展的手段。由於陳設上不能將作品以釘子或螺絲等掛於牆上，亦須設定於視線水平以上或地上，所以平面作品就預設了不能以慣常方法展示。如果單單遵照規則將作品裝置到不同地方，意義並無變化而只具視覺上的轉換，將非我所願。因此，由物理條件聯想至自身關注。我的創作是怎樣的？在媒介及風格上的不一致，縱有貫徹的信念，但那是否一廂情願的自說自話；又反問，在日常持續維持於創作狀態是過度沉醉嗎；對著已完成的作品偶爾相當喜愛，亦間或厭惡它們，矛盾的情緒需要距離以作舒緩；還有，我能如何連結起自身跟李傑的創作狀態？
早在前三次實驗，已想過令作品在展覽中消失。這次，就以不改變已存在作品的觀念下，藉一個承載全部作品含意的方法，給它們各做一個盒子並永久鎖上及埋藏，這是為了製造一種距離，去重新認識它們。
你在這裡，可以隨意從箱子裡取出作品觀看。作品被收藏的狀態是我首次接觸它時得到感動的一個時間。你可以在桌上，如同中國繪畫一樣，翻開細察，過後，箱子是安放它的所在。我不會再觸碰它們，並且在展覽閉幕那天將它們鎖於木盒子裡。
另外，我會替它們做作品集，請委託我，我願意追憶它們五十次。每一本都是獨一無二的，每一次製作成每一回追憶，情感在五十次過後會否依然？
另外，我會替它們做作品集，請委託我，我願意追憶它們五十次。每一本都是獨一無二的，每一次製作成每一回追憶，情感在五十次過後會否依然？
